Jamaica Inn Page #3

Synopsis: Set in Cornwall where a young orphan, Mary, is sent to live with Aunt Patience and Uncle Joss who are the landlords of the Jamaica Inn. Mary soon realizes that her uncle's inn is the base of a gang of ship wreckers who lure ships to their doom on the rocky coast. The girl starts fearing for her life.
Genre: Adventure, Crime
Director(s): Alfred Hitchcock
Production: Paramount Pictures
 
IMDB:
6.3
Rotten Tomatoes:
55%
NOT RATED
Year:
1939
98 min
Website
607 Views


I know what to do with money when I have it.

That's why I must have it.

- Do you understand? I must have it.

- Yes, sir.

Anything more this week

while the weather still holds?

Perhaps tomorrow.

I've been thinking about your wife's niece.

It seems a pity to bundle her off

before she's seen anything of the county.

I've nothing against her stopping.

Provided, of course, she's kept out of the way.

(Commotion downstairs)

Up to your rooms, both of you.

Patience, take her supper upstairs.

Now, try and sleep, dear. You must be tired.

Good night.

- Look at that.

- Ooh, how much?

You was right, Joss. See that?

Best part of fifteen pound in gold.

What did I tell you?

JOSS:
You've got yourself

in a pretty mess, Mr Trehearne.

What have you got to say?

Get me a drink.

Choking gives you a thirst.

Thomas, I'm sure you'll oblige the gentleman.

Seems I'm a good guesser, Mr Trehearne.

How did you get it?

Saved.

You mean, you've been selling stuff on the side.

I'm ashamed of you, Mr Trehearne.

That's what I am.

Taking the bread out of the mouths of your pals.

There's your leak.

Not true.

He's making fools of the lot of you.

Where do you think the stuff goes?

Who gets rid of it?

Do you think Joss is in this by himself?

Well, go on, ask him! Ask him who!

DANDY:
That was a cosh. Clean out.

The dirty thief.

- He asked for it all right.

- He done us. We do him.

What are we all waiting for?

(Harry whistles)

Try the other room.

See if you can find me a nice beam.

About six foot two off the floor.

Go on.

(Footsteps below)

JOSS:

Hold on. I'll see if the women are out of the way.

Don't want a lot of squawking.

Hurry up.

It's a new chap, Trehearne.

They found this gold on him.

Know anything about him?

He came from St lves a couple of months ago,

recommended by a pal.

- Can't just kick him out. That's obvious.

- He might talk.

- The men want to string him up tonight.

- Really? That's a trifle formal, isn't it?

Pistol. Oh, no. Too noisy.

Of course, you wouldn't want

to alarm your wife's niece.

I suppose it's as good a way as any.

No need for you to go. Tell 'em.

I haven't finished talking to you.

- Harry?

- Yes?

Get on with it.

- I'll be down in a minute.

- All right.

Come on, Salvation. Look sharp.

Stand back, the rest of you!

We don't want any gawpers here.

This is private, see. If you want a public hanging,

Syd, you won't have to wait long.

And you'll get a fine view of it

from the best position. Inside the rope.

(Laughter)

You're not old enough yet.

SALVATION:
What about Joss?

HARRY:
He says to get it over.

DANDY:
Is this the place, Harry?

HARRY:
That's it. Plenty of clearance.

Anything worth doing, I say,

is worth doing proper.

(Harry whistles)

Come on.

Let's make a quick job of it

before he comes round.

I won't be a party to that, Thomas.

It's only being kind to him.

He won't know nothing about it.

It's no kindness to send a man

into the next world unawares.

It's heathen. That's what it is, I say.

Bring him round with a nip of spirits

and give him a fair chance to meditate.

I don't like the thought of it somehow.

It's like doing it in cold blood.

Come on. He's heavy.

- What do you say, Harry?

- I say shut your misbegotten mouths.

Both of you.

Aha!

At it again, Dandy?

Grab, grab, grab all the time.

We'll spin a coin for them buckles,

when I say the word.

Let's have a light.

(Harry whistles)

HARRY:
All together.

Pull!

- Don't you let him have them, Harry!

- Go on.

- Throttle him, Dandy.

- Go on, Harry.

HARRY:
Shut your mouth.

Do you want to bring Joss down?

You've got to get out of here.

They'll be back in a minute.

Please, you must try.

Quick, quick.

- You mustn't stop here. Get away.

- I couldn't leave Aunt Patience.

Please, you must hurry.

(Horse gallops away)

Quick. Before Joss...

There you are, my dear.

Been saying good night to Patience?

Yes, I've been thinking things over.

"She's a sweet, pretty girl," I said to myself,

"with a lot of character."

It seems a pity to send her away,

before she's hardly seen anything of the county.

"She can stay here," I said,

"just as long as she feels inclined."

HARRY:
Joss! Joss!

Come down, Joss!

(Shouting from downstairs)

He's been took, Joss.

- What? Who?

- Trehearne, he's been took by the angels.

- Of course, he's been took. I know that.

- But alive, Joss. Alive.

Mary.

It was you.

You set that man free.

Listen to me. You must leave Jamaica Inn now,

this minute, do you hear?

There y'are.

That blasted girl, I'll kill her!

For pity's sake, go now.

Before Joss comes up.

Where's that girl?

Where is she?

You let her go.

JOSS:

Thomas, take this lamp. Look in the stables.

Harry, give me a hand.

We'll go through the yard.

If some of you don't get a move on,

I'll break your blasted necks!

SALVATION:
They can't have got away so soon.

- We can't stay here. Come on.

- Where?

Down by the harbour. I know a place.

We'll be safe there for a while.

Come on. Hurry.

SYDNEY:
Joss! Shall I search the moor?

HARRY:
Try the yard.

We'll have to get 'em,

if we stay out all night.

There's not a sign of either of them.

- They've got clear. Any luck?

- No.

If we don't find 'em,

we'll swing for it, like as not.

Harry, take a couple of men down to the coast.

Thomas, get your brother and any of our chaps

you can find. Search the moors.

- What are you going to do, Joss?

- I'll take the Bodmin turnpike.

SIR HUMPHREY:
Chadwick!

- It's very late, sir.

- She was a very charming girl, Chadwick.

I didn't mention it before, sir, but the butcher

was here while you were at dinner.

- He wants his account settled.

- Remarkably unattractive occupation.

Drearily dismembering carcass after carcass.

- I suppose they must live, sir.

- Must they?

There's nearly 40 owing to the butcher,

35 to the baker.

You see, sir, butcher, baker...

Don't butcher and baker me!

You old numbskull!

I'm sorry, huh, Chadwick, what?

Doing your duty.

That's all, Master Humphrey.

These outbursts of mine are quite inexcusable.

I can't think what comes over me.

By the way, Chadwick,

what happened to my grandfather?

Yes, went mad, didn't he?

(Knock on window)

No need for you to hang about, Chadwick.

Go to bed.

How dare you come here to me.

Haven't I told you a score of times?

Yes, but Trehearne has got away.

That girl set him free.

I couldn't help it. It was while I was with you.

- What have you done with her?

- She's gone, too.

Oh, a general exodus, apparently.

You persuaded your wife to remain, I hope.

The men are out looking for them now.

We're doing our best.

Is that all you came here to say?

That chap Trehearne knows too much.

If he was to inform against me and the others...

You're losing your head, Merlyn.

Even if Trehearne lives to do any informing,

he'll do it here.

I'm the only justice in the neighbourhood.

If you can't keep your wits about you,

kindly allow me to keep mine.

If I didn't, you'd never see another wreck.

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Sidney Gilliat

Sidney Gilliat (15 February 1908 – 31 May 1994) was an English film director, producer and writer. He was the son of George Gilliat, editor of the Evening Standard, born in the district of Edgeley in Stockport, Cheshire. In the 1930s he worked as a scriptwriter, most notably with Frank Launder on The Lady Vanishes (1938) for Alfred Hitchcock, and its sequel Night Train to Munich (1940), directed by Carol Reed. He and Launder made their directorial debut co-directing the home front drama Millions Like Us (1943). From 1945 he also worked as a producer, starting with The Rake's Progress, which he also wrote and directed. He and Launder made over 40 films together, founding their own production company Individual Pictures. While Launder concentrated on directing their comedies, most famously the four St Trinian's School films, Gilliat showed a preference for comedy-thrillers and dramas, including Green for Danger (1946), London Belongs to Me (1948) and State Secret (1950). He wrote the libretto for Malcolm Williamson's opera Our Man in Havana, based on the novel by Graham Greene. He had also worked on the film. more…

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Submitted on August 05, 2018

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